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| Jacques-Louis David, The Oath of the Horatii,1784 ,Neoclassical -David was one of the winners of the Prix de Rome, got to study Italian art for 6 years studied paintings, architecture, sculpture -one of defining pieces of modernism and Neoclassicism -Horatii (Rome) vs Curatii (Alba) -histroy painting -created as a royal commission -background framed with 3 doric, roman columns -dramatic lighting, painted naturalistic -showing us a historic story, large scale, not controversial -history paintings were meant to be very large -two families, the Horatii and the Curatii, the two cities were at war with each other, they decided to settle the dispute by sending their best 3 warriors, each 3 brothers from each family. the horatii win and kill off all of the Curatii, one of their sisters was engaged to a Curatii, she's deved and they kill her. Represents being faithful to family and to Rome -balanced composition, figures are all framed by each arch, depicting male strength in contrast to the weak women -David would've studied the Ara Pacis, The Vatican, the School of Athens, and other classic Roman works |
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| Jean-Auguste-Dominique Ingres, Odalisque with Slave,1842, Neoclassical -also won the Prix de Rome -student of David -combining Neoclassicism with Romantic -Academy was probably drawn by the erotic subject matter -probably influenced by Tition -made many Odalisque(concubine) works, interested in the female nude -painting surface is completely smooth |
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| Francisco de Goya, Plate 30 from The Disasters of War, 1810-11, Romanticism -etching series, 82 prints in total -made during the invasion of napoleon -renowned as an romantic artist -spent time responding to contemporary political situation in spain, spain had been overthrown by france, -records injustices, specifically depicting innocent people being executed during these atrocities, home has been destroyed -wasnt published until 1863 after he died because it was too controversial -made these prints so he could document for a wide audience what was going on |
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| Caspar David Friedrich, Cloister Graveyard in the Snow, 1819 Romanticism -German painter -painting doesn't exist anymore, the museum it was in was bombed -example of Friedrich's style -remnants of a gothic church, trees in the foreground framed the church, line of monks walking into the church through the graveyard. -nature and the unknown seem completely overwhelming, human beings are insignificant in comparison -hazy, atmospheric sense surrounding the graveyard, overpowering of nature in comparison to the insignificant humans -mainly uses monotone palette in his works, makes one focus on the emotion of the painting more than focusing on the elements. |
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| Louis-Jacques-Mande Daguerre, Early daguerreotype in studio, 1837 -created the daguerreotype -early daguerreotypes captured an image through a mechanical process, couldn't make multiples of an image, image is developed on a plate -photograph of a still life, wants to focus on darks and lights, some elements pop out of the shadows, -the photograph challenges painters because painters search to find the ideal depiction of life, but now there is a mechanical process that does it more accurately. Prompted more artists to experiment with paint, paint can bring color, emotion, control, |
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| Gustave Courbet, A Burial at Ornans, 1849-50 (fig. 2.16) Realism -enormous canvas -Swiss artist, moved to Paris to study academic painting, rejected what was going on in the Salon, wanted to paint what he saw -anything that doesn't appear on the retina is outside the domain of painting -this painting caused a lot of controversy, the figures aren't idealized, shows the defects of the people's appearances, every figures appears equal, doesn't depict a social hierarchy, the grave site is dug in the front, people said it felt like they were standing in the grave. -painted roughly with a palette knife -painted in 1849, a year before, Courbet was in a revolution in france that failed. This painting may be trying to raise awareness of the revolutionary ideas -two men next to the grave are dressed more like the 18th century, Courbet may be referencing the revolution of 1789 -burial scene, shows a crowd of people and some church officials in the middle |
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| -leaned towards antiquity -used glazes to hide the brushstrokes -spatial compression, sculptural figuration, highly dramatized subjects -relates to classic works, started after the rediscovery of Pompeii -crisp, smooth brushstrokes |
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| -overpowering sense of nature -apparent loose, textured, brush strokes -appealing to the emotions -responding to political and social events, often critical of the government -not commissioned by the monarchy, people in power most likely wouldn't support |
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-photography affected this style, made painters look closer at what was around them
-more loose brushstrokes
-artists focused on what life was actually like around them, depicted the working class and their importance and struggles. Tried to give a voice to lower classes |
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| Royal Academy of Painting and Sculpture |
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| Edouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, Realism -submitted this piece to the Salon, probably didn't think it would be accepted, but. It completely goes against the academic standards. -the nudity of the female figures is highlighted by the fully clothed men. -Manet is trying to make the viewer uncomfortable, makes the viewer seem like a voyeur -Manet makes sure that one of the figures is staring at the viewer so it seems like the figures are aware that they are being viewed. -viewers thought that the females were prostitutes, people in 19th century France tried to hide prostitution but it was still very common. This painting can be classified as Realism because Manet is bringing forth something that people don't want to see -the painting appears flat, he relies on line to define form, not a lot of shadow, not following the rules of perspective, he purposely did this -Manet almost exactly copies the composition from a print made after Raphael, but he plays with the perspective. He drew inspiration from other famous paintings but doesn't show use of the traditional rules -the figures are grouped, but none of the figures are making any contact, gives a sense of isolation |
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| Edouard Manet, Olympia, 1863, Realism -rejected by the Salon of 1865 -uses the same model that he used in Luncheon in the Grass, she was of a higher class, but she was also controversial -Olympia was the name of a prostitute in a famous book in this era, Manet is depicting a high class prostitute -Manet is directly referencing Titian's Venus of Urbino and Ingres' Large Odalisque. The Venus of Urbino was thought to be a concubine, but recent discoveries found that she is the bride of the Duke that commissioned the painting. She appears to be masturbating, apparently doctors during the era suggested that women lay on their right side a masturbate in order to assure the birth of a male. -Manet's figure looks more seductive and independent, she appears more controlling than Titian's. Titian's painting has a dog, represents fidelity, Manet replaced it with a black cat, representing evil, goes with people's perception of the prostitute, the cat is echoing Olympia in the way that it seems confrontational -Titian's two servants are replaced by one, a black woman that is bringing her flowers, black women were perceived as more sexual during the period, associating her with the sexuality of Olympia -Olympia is wearing high class jewelry and shoes, showing that she is a high class prostitute -the bed is painting is a very stiff and structured way, gives sense to the rigid, aggressive nature of the painting -Hard edges, aggressive |
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| Edouard Manet, Portrait of Emile Zola, 1868, Realism -does include any blatant nude women -more toned down in terms of style compared to olympia and luncheon in the grass -portrait of emile zola, zola was a naturalist/realist writer, brings to light the social qualities in france. When Manet was rejected by the Salon, Zola came to his defense, wrote responses and pamphlets about it. Zola was kind of like Manet's publicist. -more traditional in terms of style, more blending, less color patches, greater sense of modeling. -The purpose of this was not to create controversy like his other works, but to paint a portrait of his good friend -Manet's Olympia can be seen in the background, gives us a visual connection between the two. Also can see a japanese print, japonisme - -in the collection in musee d'orsay · Claude Monet, Impression: Sunrise, 1872 (fig. 2.27) -Monet would pick a subject an paint it multiple times a day in order to depict how the light changes and affects the surface and our visual perception. -this is where we coined the term impressionism -painted en plein air -people didn't respond well to this because it looks unfinished and quickly painted. The background shows an industrial yard in the harbor that he frequented. -he was interested in depicting modern life -shows his interest in how the color affects the atmosphere. he paints the light affecting the water below and the sky above. -this is not very large, doesn't need to be as overwhelming as history paintings |
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| Claude Monet, Impression: Sunrise, 1872, Impressionism -Monet would pick a subject an paint it multiple times a day in order to depict how the light changes and affects the surface and our visual perception. -this is where we coined the term impressionism -painted en plein air -people didn't respond well to this because it looks unfinished and quickly painted. The background shows an industrial yard in the harbor that he frequented. -he was interested in depicting modern life -shows his interest in how the color affects the atmosphere. he paints the light affecting the water below and the sky above. -this is not very large, doesn't need to be as overwhelming as history paintings |
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| Claude Monet, Boulevard des Capucines, 1873-74 Impressionsim -located in the nelson -painted from the balcony of the studio where the first impressionist exhibition took place -uses simple brushstrokes to compose figures, they are impressions of what he's saying -there are spots on the canvas where there isn't space, people believed that it was unfinished. This was common in impressionist works. It is about quickly painting their impression of reality. -commentary on what had been recently happening in the city- haussmannization. Showing what Paris has become, the rich wanting to showcase themselves. |
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| Auguste Renoir, Moulin de la Galette, 1876, Impressionism -Renoir and Monet were both enrolled in the academy, Monet wrote that Renoir encouraged his to paint en plain air -intereseted in portraying urban life in Paris. This is showing people at the Moulin de la Galette, a famous dancehall, partying on a sunday afternoon. this is when people would have time for leisure. -he would often paint friends and other artists in his piece. He is interesting in portraying the lightness of the working class lifestyle. -he depicts how the light is moving through the trees, echoes the movement of the people in the dancehall |
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| Edgar Degas, Ballerina and Lady with a Fan, 1885, Impressionism -Degas spent a lot of time studying the women that were performing at the Paris Opera -only impressionist that didn't paint en plein air -retains a firmer technique in line than any other impressionist -his style isn't necessarily impressionist, but his subject matter is rebellious like impressionists. He wanted to emerge himself in the social issues in France like prostitution, drinking, and exploring issues of isolation-becoming anonymous in a large city, the poor are being pushed out of the city and not being viewed by society as individuals. . Degas, Ballerina and Lady with a Fan, 1885. Impressionism -went to ballets to study movement -shows his interest in photography, the scene is closely cropped. He puts object on the edges which shows the focus and vantage point. Our view is from above, like from a balcony. We get a better sense that there is a person controlling what we are seeing. -the main ballerina in the middle is different than the others, shows that it is hard to find identity in a large population. Ballerinas were usually of lower class, usually were also prostitutes. |
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| Edgar Degas, The Tub, 1886, Impressionism -treated the subjects like he did with the images of the ballerinas, woman are also prostitutes in these bathing scenes. Ritual washing after each customer -telling us about the social stigmas and how people felt about prostitutes -cant specifically identify the figure, it is dehumanizing her -the crouching pose she is in was associated with an animal pose, further dehumanizing her -Degas holds more to the modeled form, greater sense of weight to the form. -uses mainly pastels, uses color to show the act of scrubbing herself -composition and angle of the view gives a sense of voyeurism -some others in the bathing serious are highly influenced by japanese prints (japonisme), except he doesn't show the identity of the figures |
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| Berthe Morisot, Woman at her Toilette, 1875, Impressionism -she couldn't paint the male nude, it was inappropriate for women, especially upper class women, to paint the male nude. As being of the upper class, she had more restraints, she wasn't able to wander around by herself, you don't see the underbelly of urban life because she didn't have access to it. -painting of a single figure that is very grounded due to the composition. She is looking into a mirror but we don't see her reflection. Similar to Degas where we can't the identity of the figures -loose brushstrokes throughout the painting, applies a lot of motion -sense of voyeurism because of the angle of our view, we are looking at a private moment but we question our relationship to her. It makes us asks who/what/when are we looking at. -she married Manet's brother |
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| Trade routes opened up to Japan, thanks to Matthew Perry. Started an influx of imported goods from Japan. People gained interest in the woodblock prints being imported. The style greatly influenced the impressionists |
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| "Salon of the rejected". Started by Manet and others to show their rejected works. Eventually became more popular than the Salon |
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| Group of 30 artists that exhibited together, exhibited as a separate exhibition from the Salon. They created a nurturing atmosphere that wasn't competitive. Characteristics of Impressionism: loose, soft, visual perception, light, short brushstrokes, mostly painting with the pure color and using colors next to each rather than actually mixing the colors. Had to exhibit at an impressionism exhibit. |
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| painting outside. observing how the light affects the color of something |
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| the french people wanted to renovate and open up the city by creating these large boulevards. These boulevards lead to major landmarks that the city wanted to define themselves by. This resulted in the tearing down of old structures, aimed at getting rid of the poor. This pushed the poor out to the suburbs. The rich in Paris wanted to be seen, and they didn't want to see poor people. |
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| Paul Cezanne, Battle of Love, c. 1880, Post-Impressionism -Color palette and loose brushstrokes echo impressionism -the subject matter marks the turn away from impressionism. The subjects here are classical. -This piece relates to a piece by Titian that is a scene of a bacchanal, but his forms are more reliant on line, they blend together more and don't rely on definition of color and shadows. He is like Manet because he looks back to the works of the old masters while searching for his own voice. |
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| Paul Cezanne, The Bay from L’Estaque, c. 1885, Post-Impressionism -Increased development of Cezanne's style -No figures in the composition, becomes more typical of what he does in outside scenes. Focuses more on forms in nature and man made structures. Looking at how he can literally build up the form using paint -Does more with color, specifically using color to define forms -Compared to his earlier landscapes, he uses more color to define forms rather than brushstrokes. Uses a completely different color palette. Gives a better sense of space, application of paint seems more structured and methodical. |
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| Paul Cezanne, Still Life with Basket of Apples, c. 1895, Post-Impressionism -use of heavy outline, uses wider brushstrokes, explores the traditional subject of the still life but in his own way. -the lines of the table down line up after they go behind objects, the wine bottle seems warped, the cloth takes on a sculptural quality and holds the fruit in place. He took the traditional subject matter so the viewer is grounded in their recognition but experiments with methods of perspective. |
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| Paul Cezanne, Mont Sainte-Victoire, 1902-06, Post-Impressionism -mountain that was close to his house -trying to construct after nature but also trying to show the changes of the forms and his relation and connection to the mountains -architectonic- building up the forms with paint -flattens the picture plane using repetition of color, seems to be abstracting the surface to show that it is a painting, questions laws of perspetive |
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| Paul Cezanne, The Large Bathers, 1906, Post-Impressionism - This was his last major work, he returns to the figure as the subject. -The figures are more defined than his earlier figures, uses outline and more facial detail to define the figures. The figures seem awkward and distorted, he wanted to depict the figures as more abstracted and wanted to experiment with form. Experiments with our preconceived ideas about the how the figure should look. -still uses classical subject matter and associates it with classical works. -The background shows some buildings, which shows us modern life in relation to these classical figures -The scale of the figures and their relationships between each other make them more monumental |
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| Area where Cezanne lived and where he knew Emile Zola |
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| Shown in a lot of Cezanne's work. The use of color plains passing into one another. Used to define form and unify surface, rather than relying on outlines. |
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| art unconcerned with the literal depiction of things from the visible world |
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| Cezanne's work can be described as architectonic, strong horizontals and verticals, builds up layers of paint in order to build up the compositions |
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| Georges Seurat, A Bathing Place, Asnieres, 1884 (Online, National Gallery, London) Post Impressionism -color palette reflects that of the impressionists -the impressionists were still exhibiting at this time -this work is referred to as heroicizing the figures by making the working class people large scale -figures bathing and relaxing by the river. Working class people, -this is akin to Corbet, making regular working people large scale, -he chooses this scene because he is seeing the affect of Haussmenisation/industrialization of Paris and its affect on the working class -this is different that Renoir's piece, the figures aren't interacting and are isolated. We can't see their faces/identities, like Degas -the buildings in the background is a reminder of industrialization, industrialization/progess vs leisure -the figures in his works are very weighted and sculptural. -many of the figures poses echo each other/are repeated -Seurat takes the short brushstrokes from the impressionists, but he was actually studying color study. Color mixed by the eye rather than on the palette was more vivid |
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| Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-86, Post- Impressionism -painted over a few years -painting something familiar to him. a suburban park on an island opposite from where A Bathing Place, Asnieres takes place -did many studies for this painting. His technique was systematic, layer upon layer in order to make the color laws to work -like the Bathers, the figures are rigid and their poses are repeated. there is also the same sense of separation and isolation -they have the stiff, rigidness of Egyptian art. They either face forward or sideways like Egyptian figures -the monkey shows exoticism and status. These people aren't rich, but they are well enough to own a monkey - crisis of modern life, no sense of warmth between how the figures interact -can be compared to Manet's Luncheon on the Grass. Seurat is specifically analyzing color and using it to comment on socialism of modern life |
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| Georges Seurat, Study for Le Chahut, 1889, Post Impressionism -refers to a especially provocative dance, occurred a lot in 19th century Paris -using pointillism/divisionism, but using a different subject than his other works. Contemporary life, rather than casual scene, shows us the social underbelly, makes it easier to see the social commentary -people saw this work as frivolous compared to his other works, criticized his use of pointillism for this frivolous painting -he painted a frame on it, draws attention to his decision of cropping the image. could be a response to people wanting him to frame his work, because he didn't like to frame his work. -the dancers are men and women, the legs have no distinction between gender, makes it provocative. -the orchestra seems to be the viewer. influence by Degas of the orchestra viewing the dancers, infiltrating the image -we can see part of a patron in the corner, its like we're seeing this image of unrestrained pleasure, but also a display of vulgarity, the dancer's position in relation to the audience below them, they seem to be presenting themselves. -the figures seem alienating. the figures aren't interacting, which is what it was like in these dance halls, it was part of modern life. collective alienation. |
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| use of dabs of color on the surface to build up layers in order to for the laws of color to work |
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| wrote "Modern Chromatics" one of the first books on color theory that was used by Seurat |
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| Eugene Chevreul, “Law of Simultaneous Contrast of Colors” |
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| Law of simultaneous contrast of colors. the apparent intensity of color does not depend as much on the inherent pigmentation as it does on the hue of the neighboring color. Two colors side by side will effect each other more when viewed rather than on the palette |
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| Gustave Moreau, The Apparition, c. 1876, Post Impressionism -dream like painting because of the layering of pigment, unlike most artists in the impressionist movement. the entire canvas is covered. -the subject matter was appealing to Moreau because of the type of person it portrays. the woman in the left is Salome, middle is head of St. John the Baptist. Biblical story, Salome was seen as a femme fatale, dangerous woman. Salome acted as a seductris in order to get what her mother wanted. -the way Moreau has depicted her is all powerful. it is as if she has complete control -the glow from the head of St John is going to each corner of the composition, completes the composition -the viewer becomes fixated on the head of St. John the Baptisit |
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| Odilon Redon, Roger and Angelica, c. 1910, Post Impressionism -based on a poem -dragon in the bottom corner -Roger is flying on a winged creature, a hippogriff, trying to save Angelica -Redon is focused on the emotions of the story, captivate the heroic gesture, the swooping gesture of the clouds. Seeing the figures isn't his primary objective, he is going for an overall feel |
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| Henri Rousseau, The Sleeping Gypsy, 1897, Post Impressionism -style is drastically different than other post impressionists -didnt studying painting, later in his life became interested in art as his occupation. Younger generations looked at his paintings and considered them naive or primitive. -the figure appears to be in a desert, but there is a river or something in the background. the way he paints the figures are unsettling. The gypsy is laying at a strange angle -it raises questions like Why is she out in the desert with these items, Why does she look so calm while she is in the desert next to a lion, Where is she? -subjects of a dream like state, influenced surrealism -the stripes on her robe help give that dream like state -the lion is in the middle of the composition, his tail moves you around the composition |
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| Paul Gauguin, Vision after the Sermon, 1888, Post Impressionism -tried to use a lot of emotion in his works, became very personal to him -experiments with color more so than the other post impressionists of this time, used color to depict what he felt -he was a stock broker before he was a painter, but he was not very successful. He gave up his life with his wife and his 5 children to become a painter, made him bitter towards modern life, corrupt, demeaning to the soul. wanted to find a purity of the soul, a simpler life. Traveled around France in order to find a pure culture that he wasn't experiencing in paris, eventually landed in Tahiti. -japonisme, can see the japanese influence in the background red color. non naturalistic color -works with increasingly simplified flat shapes, outline, and bright colors. -wanted to evoke a sense of the primitive in his work. -Synthetism- trying to not just paint what u see, but synthesizing it with emotions. -the image in the upper right corner is a biblical story from Genesis, in which Jacob wrestles an angel, and eventually Jacob changes his name to Isreal. Gaugin identified with this because he felt like he was going through this sort of internal struggle. The rest of the image is not a biblical image. The other figures are women from rural Brittany, he felt that the embodied a more pure spirit, closer to god, not taken over by industrialization. -separates the two images with the diagonal tree trunk. our perspective is unclear because of the use of the solid red, flattens the canvas, completely collapses the space. -no real light source, further flattens the image. -"the impressionists study color…for decorative means…" Gaugin is freeing himself from any expectation that is lined with the impressionist style. Didn't believe in painting en plein air, believed that painting from memory is more tied to your soul and emotion. |
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| Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897-8, Post-Impressionism -the title tells us of his internal turmoil. he went to Tahiti in search for the primitive, wanted to be around a "simple culture", but he found that missionaries had ruined the culture. the women were now wearing clothes. Gaugin was in search of an exotic life that he didn't find in Tahiti -he is depicting people that he observed in tahiti, created the people in ways that he expected to see them and some in the ways that they actually were. He included sculptures that he expected to see -the effect of modern society, much like Seurat -large painting, about 5 feet across -wrote about the paintings he was working on, intended for them to be published to show the public the effect of modernization on cultures. he wrote about being suicidal and sick while painting this piece. -used primitive treatments of the medium, the rough canvas and the treatment of the paint -the small bird with a lizard in it'd claw by the women shows a futility in words. -he is laminating on the meaning of life, there is a religious undertone, the middle figure can be read as a Eve figure -abstract style, non naturalistic color, deliberate confusion of perspective in space |
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| a mysterious and seductive woman whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations |
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| trying to not just paint what u see, but synthesizing it with emotions. |
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| intentional primitive mark making and composing |
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| color that is not what is seen by the eye |
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| Vincent van Gogh, Self-Portrait, 1888 Post impressionsim -painted in arles, can see all the brushstrokes, plain backgrounds, no environment, looks pensive/angry, building a technique that is specific to him, thick separated deliberate methodical brushstrokes. building up paint. almost becomes sculptural. |
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| Vincent van Gogh, The Night Café, 1888, Post-Impressionism -real cafe that he spent a lot of time in, drank a lot there -painting something real to him -"the night is more richly colored than the day", the colors all had meanings to them, the all were meant to convey emotions. -only took him 3 nights to paint, painted from inside the cafe. -the distortion of the view and the shadows, the hunched over figures show the sleazy mood of the room. the bottles and glasses show the alcoholism of the people, weight of despair -our perspective is very skewed -trying to convey a specific tone about the space, using non naturalistic color. subject matter, technique of application, color, create this nightmarish place. |
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| Vincent van Gogh, The Starry Night, 1889, Post-Impressionism -painted this in the sanitarium -one of his most well know works, possibly one of the most well known works in history of art. -using impasto, thick brushstrokes, building up the paint -painted this looking out his window, he was trying to express his longing to escape -most of the composition is the sky, that is where he wants to escape to -sense of movement throuought the sky with the swirling movement. -extremely energetic, especially compared to the village below. the sky is vibrant -there is a church with a steeple, some say its a reflection of his religious roots, the cypress tree dominating with its size and position the village bellows. cypress trees are associated with graveyards, put in images to convey a sense of mourning. |
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Edouard Vuillard, Woman in Blue with Child, c. 1899 Post Impressionism
-attraction to pattern reflects attempt to break down barrier between high and low arts.
-one of the founding Nabis artists that taught the later artists
-confusing sense of perspective
-takes place inside an apartment, the child almost becomes part of the wall because of the adjacent similar color palette, the different types of patterns camouflage the objects
-the perspective and patterns give a feeling of disorient, claustrophobic, and overwhelming |
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Pierre Bonnard, Nu à contre jour (Nude against the light), 1908 Post-Impressionism
-portrait of Bonnard's partner, married her 20 years after this was painted
-academic training
-studied Vuillards work
-compared to Vuillard, his patterns are more loose, the figure is distinct, draws attention to the figure by using backlight and using directionality : the couch is crossing her diagonally and the other lines of the room are parallel with her.
-similar to Degas' The Tub, the figure is turned away from us, we see a mirror in Bonnard's piece but we only see the bottom part of the body. Degas gives us this cold, voyeuristic view, but Bonnard gives us a warmer, more comfortable view by showing the arched back of the figure instead this crouched figure |
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Henri de Toulouse-Lautrec, Moulin Rouge – La Goulue, 1891 Post-Impressionism
-trained academically, from an aristocratic family, but associated himself with the working class
-advertisement for the Moulin Rogue, color lithograph, new medium in this period, choosing to do his art in this cheap, easy to mass produce medium.
-silhouettes of different patrons of the dance hall in the back, dancing woman in the center of the composition, chahut dance, like in Seurat's painting, provocative dance
-in the foreground is a male patron who is essentially looking up her dress
-poster is pushing what is socially acceptable
-this poster would draw people to go because of the amount of people in the back, the amount of energy in the room, the movement of the forms of the lights give a sense of energetic movement. the view it puts us in in the front would make us feel like we would have a close view of what's happening. repeated text suggests a sense of motion
-he broke both of his legs when he was younger, had a genetic disorder because his parents were first cousins, he was fucking effed. |
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| Rosa Bonheur, The Horse Fair, Realism (1848) -gave a voice to animals, made animals her main subject matter, people become second in importance in her work -member of the Academy, they did allow females, but limited the amount, 4 -submitted this to the Salon, won a first place medal -very large scale painting, creating a large scene for these horses, making it impossible for the viewer to ignore -prints were made, went on tour, this piece was extremely popular, made her work influential to other artists -had to get permission to were pants so she could go to the stock yards to study the anatomy of the animals, wanted to understand their anatomy, muscles, movement, and depict their power |
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close to where cezanne painted. where Van Gogh painted. where Van Gogh met gauguin. |
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Van Gogh's brother, his main source of support and recipient of his personal letters, was also an art letter, helped Vincent into the art world. Theo pushed Gauguin to write to and visit Vincent and they exchange self portraits. This allows them to know each other on a different level. eventually, gauguin didn't want to be around vincent so he went to hotel, leading to vincent showing up at a brothel with a chunk of his ear. he was eventually institutionalized in order to deal with his craziness. |
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Auguste Rodin, The Age of Bronze, 1876
-his first work that gave him public attention
-people criticized him for this piece because it looks too realistic, thought that he made a life cast, he sculpted this from a model, a belgian soldier who had the muscles, worked on this for about a year and a half, trying to create this idealized form.
-only break he took from this work was to go to italy to study michaelangelo, same gesture/dramatic poses, attention to the lines of the body, evoke the tension under the skin.
-was originally supposed to have a spear in his hand, but he wanted it to have timelessness, not set in a specific time
-wanted a work that would speak to a lot of people, more in keeping with the academy, expensive, hoped that it would be purchased through the state. wasn't at first, but was finally purchased by the state. gave him a turning point, gained attention/notoriety. placed the piece out in a public space, giving it importance. |
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Auguste Rodin, The Burghers of Calais, 1886
-commisioned sculpture by the city of Calais. They wanted to commemorate The Hundred years war. Calais was an important port city, england wanted to control exports
-portraying the Burghers walk to their death
-the people of Calais didn't appreciate Rodin's final product. It didn't seem to heroicize the Burghers, they seem aware of their death. He is depicting them as they actually felt. Showing their overall anguish and their individual responses of their fates.
-the expressive quality of their hands are accented, they are enlarged
-deeply carved out eyes in order to express emotion
-the people of Calais felt that the figures weren't finished, which is deliberate on Rodin's part. Rodin didn't want it on a platform in order to give us a sense of connection, but Calais put it on a pedestal, which removed what Rodin was going for, disconnects us from the figures. |
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between france and england. England wanted to control the port city of Calais in order to control exports/imports. England laid siege on Calais. England told Calais that if the sent out their six Burghers, leaders of the city, then England would spare their city. The Burghers are sent off to meet their death. |
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the process by which a metal (bronze) sculpture is made/cast from an artist's sculpture
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